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The beginning of the 20th century saw literary scholars from Russia
positing a new definition for the nature of literature. Within the
framework of Russian Formalism, the term 'literariness' was coined.
The driving force behind this theoretical inquiry was the desire to
identify literature-and art in general-as a way of revitalizing
human perception, which had been numbed by the automatization of
everyday life. The transformative power of 'literariness' is made
manifest in many media artworks by renowned artists such as Chantal
Akerman, Mona Hatoum, Gary Hill, Jenny Holzer, William Kentridge,
Nalini Malani, Bruce Nauman, Martha Rosler, and Lawrence Weiner.
The authors use literariness as a tool to analyze the aesthetics of
spoken or written language within experimental film, video
performance, moving image installations, and other media-based art
forms. This volume uses as its foundation the Russian Formalist
school of literary theory, with the goal of extending these
theories to include contemporary concepts in film and media
studies, such as Neoformalism, intermediality, remediation, and
postdrama.
The beginning of the 20th century saw literary scholars from Russia
positing a new definition for the nature of literature. Within the
framework of Russian Formalism, the term 'literariness' was coined.
The driving force behind this theoretical inquiry was the desire to
identify literature-and art in general-as a way of revitalizing
human perception, which had been numbed by the automatization of
everyday life. The transformative power of 'literariness' is made
manifest in many media artworks by renowned artists such as Chantal
Akerman, Mona Hatoum, Gary Hill, Jenny Holzer, William Kentridge,
Nalini Malani, Bruce Nauman, Martha Rosler, and Lawrence Weiner.
The authors use literariness as a tool to analyze the aesthetics of
spoken or written language within experimental film, video
performance, moving image installations, and other media-based art
forms. This volume uses as its foundation the Russian Formalist
school of literary theory, with the goal of extending these
theories to include contemporary concepts in film and media
studies, such as Neoformalism, intermediality, remediation, and
postdrama.
"Only skin deep," "getting under one's skin," "the naked truth"
metaphors about the skin pervade the language even as physical
embellishments and alterations -- tattoos, piercings, skin-lifts,
liposuction, tanning, and more -- proliferate in Western culture.
Yet outside dermatology textbooks, the topic of skin has been
largely ignored.
This important cultural study shows how our perception of skin
has changed from the eighteenth century to the present. Claudia
Benthien argues that despite medicine's having penetrated the
bodily surface and exposed the interior of the body as never
before, skin, paradoxically, has become a more and more unyielding
symbol. She examines the changing significance of skin through
brilliant analyses of literature, art, philosophy, and anatomical
drawings and writings. Benthien discusses the semantic and psychic
aspects of touching, feeling, and intellectual perception; the
motifs of perforated, armored, or transparent skin; the phantasma
of flaying; and much more through close readings of such authors as
Kleist, Hawthorne, Balzac, Rilke, Kafka, Plath, Morrison, Wideman,
and Ondaatje. Myriad images from the Renaissance, anatomy books,
and contemporary visual and performance art enhance the text.
"Only skin deep," "getting under one's skin," "the naked truth"
metaphors about the skin pervade the language even as physical
embellishments and alterations -- tattoos, piercings, skin-lifts,
liposuction, tanning, and more -- proliferate in Western culture.
Yet outside dermatology textbooks, the topic of skin has been
largely ignored.
This important cultural study shows how our perception of skin
has changed from the eighteenth century to the present. Claudia
Benthien argues that despite medicine's having penetrated the
bodily surface and exposed the interior of the body as never
before, skin, paradoxically, has become a more and more unyielding
symbol. She examines the changing significance of skin through
brilliant analyses of literature, art, philosophy, and anatomical
drawings and writings. Benthien discusses the semantic and psychic
aspects of touching, feeling, and intellectual perception; the
motifs of perforated, armored, or transparent skin; the phantasma
of flaying; and much more through close readings of such authors as
Kleist, Hawthorne, Balzac, Rilke, Kafka, Plath, Morrison, Wideman,
and Ondaatje. Myriad images from the Renaissance, anatomy books,
and contemporary visual and performance art enhance the text.
At first glance, the category of 'sincerity' has little in common
with 17th century culture. On the contrary, the desire to break
with the aesthetic conventions and the artificiality of semiotic
systems is regarded as a characteristic of the subsequent
historical epoch - the Enlightenment - and its vehement efforts to
set itself off from the Baroque. The book relativizes the incisive
nature of this distinction in the history of ideas by inquiring
into the forms and strategies of the authentic, the natural, and
the straightforward in the literature, the arts, the behavioural
doctrines, and the cultural history of the early modern age.
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